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In the ensuing years, a Hollywood golden age, the likes of All About Eve, An American in Paris, From Here to Eternity, and On the Waterfront secured best-picture Oscars—and although those first three all screened at Cannes, the festival’s top prizes went to other, often non-English language releases. That changed with Delbert Mann’s Marty in 1955, the first film to officially win the newly renamed Palme d’Or and then snag four Oscars including best picture, but after that, this one-two punch wouldn’t be achieved by another film for—wait for it—more than six decades. In a way, it made perfect sense: the Academy’s taste skewed more mainstream and, at times, conservative, while Cannes’s purview was global and its vision for the future of cinema more radical and boundary-pushing. While best-picture Oscars were being handed out to West Side Story, My Fair Lady, The Sound of Music, and Oliver!, the Palme went to Federico Fellini’s La Dolce Vita, Luchino Visconti’s The Leopard, Jacques Demy’s The Umbrellas of Cherbourg, and Michelangelo Antonioni’s Blow-Up.Veganism Is An Eating Disorder 2026 Tee Shirt
And Cannes was embracing American cinema, too—just a different side of it from the one the Academy found most palatable. The festival gave Martin Scorsese its top prize for Taxi Driver, but he lost best picture to Rocky; Francis Ford Coppola famously snagged the Palme for Apocalypse Now but the best-picture award that year went to Kramer vs. Kramer; Quentin Tarantino was handed the Palme for Pulp Fiction but Forrest Gump ultimately won best picture that time around; and Terrence Malick’s The Tree of Life won the Palme while The Artist dominated at the Oscars. It was around this time that the Academy was beginning to shift—in 2015, #OscarsSoWhite and the fury it prompted inspired a great deal of soul-searching, and led to the organisation taking steps to diversify its membership and make it significantly more international. Soon, the films that were winning best picture—Barry Jenkins’s hallucinatory Moonlight, Guillermo del Toro’s surreal The Shape of Water—though they’d premiered at Telluride and Venice, respectively, began to feel more like Cannes films: experimental, artful and in defiance of convention.
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